1. Ranciere suggests that: “Artistic practices are ‘ways of doing and making’ that intervene in the general distribution of ways of doing and making as well as in the relationships they maintain to modes of being and forms of visibility.” Boal`s theatre practice is actually a revolution of being and the way of making.
2. “it is possible to challenge a good many imaginary stories about artistic ‘modernity’ and vain debates over the autonomy of art or its submission to politics. The arts only ever lend to projects of domination or emancipation what they are able to lend to them, that is to say, quite simply, what they have in common with them: bodily positions and movements, functions of speech, the parceling out of the visible and the invisible.” Ranciere`s idea about visible and invisible actually can be seen as the relationship between audience and performers.
3. “The important thing is that the question of the relationship between aesthetics and politics be raised at this level, the level of the sensible delimitation of what is common to the community, the forms of its visibility and of its organization”. In Ranciere`s perspective, the relationship between politics and aesthetics is a form that can be revealed in an artist`s practice. Brecht`s alienation can demonstrates his Marxist inclination.
4. Mouffe states: “Conflict in liberal democratic societies cannot and should not be eradicated, since the specificity of pluralist democracy is precisely the recognition and legitimation of conflict”. What is the role of arts in the legitimation of conflict? Diana Taylor writes: “Breaking norms is the norm of the performance”.
5. Mouffe pointed out that Adorno believed in the possibility for art to provide a space for autonomy. While Boal uses practice to certify this point view.
6. Mouffe suggests that the importance of artistic and cultural practices in the counter-hegemonic struggle. Diana Taylor embodied this perspective more detailly. She thinks performance is an epistemology—“a way of transmitting memory and identity”. The identity certainly contributes to our understanding of the society.
7. Mouffe pointed out: “Artistic practices can contribute to unsettling the dominant hegemony. The address this issue requires scrutinizing the role of critical artistic practices in the public space”. Placing a piece out of its familiar context can be seen as an act of intervention to dominant power.
8. Mouffe said: “Envisaged as counter-hegemonic interventions, critical artist practices can contribute to the creation of a multiplicity of sites where the dominant hegemony can be questioned.” The dominant hegemony can be seen as a repetitive framework. Thus, the function of the artist is as Diana Taylor`s written: “Performance is not limited to mimetic repetition. It also includes the possibility of change, critique, and creativity with frameworks of repetition”. 9. Question about tragedy: Boal points that: “transforms itself to docile Mimicry. In Tragedy, the physical violence is carried out off-stage”. We may can understand this way, the climax of theatre/play need to approach extreme. This is why we can see, great love stories always end with death. Does the climax of tragedy can also be seen as a rebel to the hegemony? 10. Brecht talking about the relationship between art and science “in the age to come art will create entertainment from that new productivity which can so greatly improve our maintenance” amusement centre of class. Theatre can show the structure of society. Actually, it may depends on who is the audience. In the traditional theatre, performers seem have great statues, but spectators are the people who can be a critic and own the power of arts.